The new Prints (etchings) Tauba is working on with Paulson Bott Press are really good. I previewed them this week. They will be released later this summer and they will not last long. There will be at least 4 different ones in editions of approx 35 each. Very colorful and graphic. Will post images when I can.
thanks for the info....
can you tell us are they "crease" based works or has she transcended to another level ?
interesting. i suppose if she was able to transform the mundane qualities of crumpled paper into magic, i'd have to grant her some latitude here, even if i'm a little taken aback at the moment. looking forward to more.
just stopped by PBP's studio today to take a glimpse at Auerbach's artist's proof prints. I got infatuated on Ms. Auerbach's new timeless prints for some time! i spent almost 2 hours at the studio watching this tedious process of etching by the lovely owners as they're making the fifth print instead of just four different prints!
i'm definitely certain that they're going to be sold out before you know it. even the owners indicated that they have a feeling that they're going to be in their own word, "super-popular!"
Unfortunately, I didn't even bring my trusty camera with me to the studio...
....However, PMP was gracious enough to let me post their photos of the etching prints in this forum:
Plate Distortion - Silver
Plate Distortion - Bronze
Plate Distortion - Blue
Edition: 35 + 5 Artist's Proofs Paper Size: 44" by 33 1/2"
The colorful prints are something that Tauba experimented with fold/slice technique which I haven't yet to comprehend. PMP will be providing more detailed information about this process soon. This is the process which I was lucky to witness for almost 2 hours. Yes, it takes about 1.5 hours to print EACH for this fold/slice print!
Also, here's what PMP sent me with Tauba's involvement in this etching process for the fold series: copper foil which she folded and made creases and then used acid for etching. Afterwards, the foil was flattened and cleaned out for the printing. Very innovative and one of the PMP's owners said that she hasn't seen anyone like this much to her knowledge.
Her fold paintings give me a feeling similar to that of standing in front of a Rothko. They are almost ethereal to me. An object that is so beautiful, but also created with substance and concept behind it. A lot of her work is based on the occurrence of chance events, which really interests me and relates back to my first interest in Jose Parla's work, mark making, and urban decay in general.
Her abstracted calligraphy works are also incredible. The skill that they must take is immense. She becomes a master of each craft she undertakes, not only in practice, but in concept. That is extremely attractive to me in looking for artists to support and collect.
Last Edit: Jul 27, 2011 10:24:08 GMT -8 by ricosg11
Post by mistersmith on Jul 27, 2011 17:27:15 GMT -8
I read those, looked at a bunch of her stuff...it just doesn't do anything for me. But I don't like any conceptual-op-art stuff, or Rothko, or pretty much anything with abstraction. Those multi-colored pixels? All I see is little boxes of color placed randomly on a sheet of paper. Randomness, in and of itself, doesn't mean anything to me. I don't want to have to read an artist's statement to derive something from their work.
Like, that article praises her for pointing out that "listen" and "silent" are words made of the same letters -- and I'm thinking, so what. I don't feel that observation really merits attention, since it's essentially an arbitrary coincidence unique to English, and words are just signifiers of ideas anyway...language is always changing, it's the ideas behind the words that actually mean anything.